Blues Scale Lead Guitar Lesson
Blues Scale Lead
Hawkeye explains how the blues scale can be used to play lead in any song.
Taught by Hawkeye Herman in Blues Guitar with Hawkeye seriesLength: 30:57Difficulty: 3.0 of 5
At this point in the series, most of the scale information Hawkeye has presented has dealt primarily with the blues genre. The current lesson transcends the boundaries of specific genres. Consequently, Hawkeye views this as one of the most important and useful lessons in the series. Due to its importance, make sure that you do not gloss over the information presented in this lesson. If you do not understand something, make sure that you contact Hawkeye or another JamPlay instructor for help.
Lesson Objectives
-Learn how the minor pentatonic scale pattern that you have already learned can be used when improvising over major key progressions outside of the blues genre.
Music Theory Overview
Very little music theory is necessary to convey the topic of this lesson. However, you will need to understand the information below in order to get the most out of this lesson.
A. Tonalities / Key Centers
Chord progressions and melodies are typically written in what is called a "tonality." Major and minor are the two most common tonalities. The modes based on the major and minor scales are examples of tonalities as well. At this point, discussion shall be limited to the major and minor tonalities.
B. Basic Ear Training Skills
You must be able to accurately determine the key center of the song. In other words, you must know the "home base" note that the chord progressions seems to gravitate towards. If necessary review the procedure that Hawkeye outlines in lesson 24. A brief review from this lesson is provided below.
Playing with Recordings
Playing along with your favorite blues records is an excellent way to develop your rhythmic and improvisational skills. To determine the key center of a song, follow these steps:
1. Make sure your guitar is in tune. You must also know which tuning the guitarist on the recording is playing in. For example, Stevie Ray Vaughn tuned every string down a half step. Other guitarists frequently play in open tunings such as open E, open G, and open D. Occasionally, some guitarists have been known to tune the guitar down an additional 1/4 step or microtone in addition to tuning down by a half step or whole step.
2. When determining the key of the song you are trying to play along with, you must take an organized approach. Do not simply jump all over the fretboard to find the correct tonic note. Use the E strings as a guide in order to find the root note of the tonic or I chord. Ascend chromatically in half steps until you find what you believe to be the root note of the tonic chord. This chord will identify the key of the song.
3. Then, play the minor pentatonic scale in this key along with the recording to make sure that it works. If this scale doesn't work, you must start the whole process over again.
4. After working through this process several times, you will notice that finding the tonal center of a song becomes much easier.
Steps to Creating an Effective Solo
1. Determine the Tonal Center
The ear training trick that Hawkeye taught in lesson 24 will help you find the key that the song is in. Unfortunately, this process will not tell you whether the song is played in a major or minor key. You can use your ears to guide you. However, this may not be a full proof method at this point. By applying some music theory rules, you can judge whether the song is in a major or minor key. The only full proof method at this point is probably to use simple trial and error.
2. Trial and Error
Play the minor pentatonic scale in the tonal center of the song. For example, if you have determined that the tonal center or key of the song is G, improvise over the progression using the G minor pentatonic scale in third position. If the notes in the scale sound consonant against the chord progression, then you've found a winner!
At this point, you know that the minor pentatonic scale is one effective option that will work over the progression. However, we still haven't determined whether the song is in a major or minor tonality. In many situations, the minor pentatonic scale will sound consonant over a progression played in a parallel major key.
The confusing aspect to consider is that the minor pentatonic scale will work over some progressions in major keys and not others. For example, the G minor pentatonic scale will work over a blues progression in the key of G major. Both the 12 and 8 bar blues progressions are typically played in major keys. Even though they are played in major keys, the minor pentatonic scale of the same letter name is still a very effective scale option when improvising over these progressions.
Parallel Keys
Parallel keys are major and minor keys that share the same letter name. For example, C major and C minor are parallel keys. The tonal center of both keys is the note C. However, their key signatures are different by three accidentals. The key of C major has no sharps or flats in the key signature. On the other hand, the key of C minor has three flats in the key signature. Compare the spelling of the C major scale and the C minor scale listed below.
C major: C, D, E, F, G, A, B, C
C natural minor: C, D, Eb, F, G, Ab, Bb, C
3. Try the Scale Down Three Frets (Optional Step)
When playing over the progression, the minor pentatonic scale might have sounded inappropriate. If the notes clash or sound dissonant with the progression, try playing the scale down three frets (a minor third). The chord progression is most likely in a major key that the parallel minor pentatonic scale will not work with. Chapter 2: (10:39) You Ain't Goin' Nowhere "You Ain't Goin' Nowhere" is a classic song written by Bob Dylan. It consists of a basic major key progression in the key of G major. It consists of G, Am, and C - the I, ii and IV chords in G major. Hawkeye demonstrates the song at 00:39.
If you try playing the G minor pentatonic scale over this progression, it sounds awful. Instead, you need to play E minor pentatonic, which is located three frets below. Essentially, you are now using a G major pentatonic scale over the progression. G major pentatonic shares the same notes as E minor pentatonic. Compare the spellings of these two scales below:
E minor pentatonic: E, G, A, B, D, E
G major pentatonic: G, A, B, D, E, G
The relative minor pentatonic scale of the major key shares the same notes as the major pentatonic scale of the tonal center. Hawkeye solos over the progression using the G major pentatonic scale (same notes as E minor pentatonic) at 05:07 to demonstrate how this works.
Transposing the Song and Scales
When played in the key of C, "You Ain't Goin' Nowhere" still consists of the I, ii, and IV chords. In the key of C, these chords are C, Dm, and F. Play C major pentatonic over this progression. This scale features the same notes as its relative minor pentatonic scale, A minor. Hawkeye plays the song in C at 08:04. Chapter 3: (02:27) Key of A The I, ii, and IV chords of this key are A major, Bm, and D major respectively. Play A major or its relative minor pentatonic scale, F# minor. Chapter 4: (06:21) Key of D The I, ii, and IV chords in this key are D, Em and G. Play D major pentatonic (same notes as B minor pentatonic) over the progression. Chapter 5: (08:03) Down Three Frets The root note of the relative minor pentatonic scale is located three frets or one and a half steps down from the tonal center or key of the song. For example, when playing in the key of C, count back three half steps to find the pentatonic scale built from the relative minor key. The relative minor to C major is A minor. This trick will enable you to find the proper scale quickly without counting on your fingers.
A circle of fifths wheel is provided under the "Supplemental Content" tab for a quick reference of major keys and their relative minors.
Clarification
In the lesson video, Hawkeye says that the E minor pentatonic scale will not sound good when playing "Folsom Prison Blues" in the key of E major. This is not true. The minor pentatonic scale is quite effective when playing over a 12 bar blues in a major key. In this situation, both the E minor pentatonic scale and the E major pentatonic scale (same notes as C# minor pentatonic) will work over the progression. These two scales are frequently interspersed within a single improvised line.
Supplemental Learning Material
Blues Guitar with Hawkeye
Found in our Beginner Lesson SetsThe blues is a distinctly American style of music. Many popular genres such as jazz, rock, and country music draw upon basic blues concepts. Consequently, it is advantageous for any guitarist to study the blues.
Lesson 1
Introduction to Blues
Hawkeye Herman introduces the blues. He explains the 12 bar blues chords and the poetic format that blues lyrics typically follow.
Length: 19:25 Difficulty: 1.0 Members Only
Understanding Blues Chords
Hawkeye explains how the I, IV, and V chords are used in a 12 bar blues progression.
Length: 12:12 Difficulty: 1.0 Members Only
Blues Rhythm
Hawkeye demonstrates common strumming patterns used in blues music. He also explains how country music evolved from the blues.
Length: 19:42 Difficulty: 1.5 Members Only
Intro to the Blues Shuffle
The shuffle is one of the most common rhythms used in blues music. Hawkeye introduces the most basic shuffle rhythm pattern.
Length: 18:12 Difficulty: 1.5 Members Only
More Blues Shuffle
Hawkeye covers the blues shuffle in greater depth.
Length: 13:13 Difficulty: 1.5 Members Only
The Blues Turnaround
Hawkeye introduces and explains a common blues turnaround.
Length: 7:45 Difficulty: 2.0 Members Only
Interesting Blues Turnaround
Hawkeye demonstrates various ways of arpeggiating the blues turnaround from the previous lesson.
Length: 8:08 Difficulty: 2.0 Members Only
Moving the Turnaround
Hawkeye explains how the turnaround from the previous lesson can be transposed to all 12 keys.
Length: 5:57 Difficulty: 2.0 Members Only
Turnaround in the Bass
Hawkeye explains how the blues turnaround can be played on the bass strings.
Length: 11:12 Difficulty: 2.0 Members Only
Turnaround Practice
Hawkeye provides some tips regarding how to integrate turnarounds into the context of the 12 bar blues form.
Length: 3:58 Difficulty: 2.0 Members Only
Turnarounds as Lead
In this lesson Hawkeye will explain how you can use turnarounds as a way to play basic lead.
Length: 0:00 Difficulty: 2.0 Members Only
Subtle Changes
Hawkeye demonstrates how subtle changes made to the blues shuffle can have a profound impact on the overall sound of the 12 bar form.
Length: 7:12 Difficulty: 2.0 Members Only
Blues Shuffle Variations
Hawkeye demonstrates more blues shuffle variations. He discusses playing individual notes and palm muting.
Length: 7:23 Difficulty: 2.0 Members Only
Bass Blues Shuffle
In this lesson, Hawkeye teaches a bass version of the blues shuffle that mimics a common left-hand piano pattern.
Length: 10:49 Difficulty: 2.0 Members Only
Turnaround Exercise
Hawkeye presents an exercise that will enable you to play a turnaround over the blues form in all twelve keys.
Length: 10:44 Difficulty: 2.0 Members Only
Delta Blues Turnaround
Hawkeye teaches a Delta blues turnaround in the key of A. This turnaround is played in the style of Robert Johnson.
Length: 10:45 Difficulty: 2.0 Members Only
Delta Blues Turnaround #2
Hawkeye Herman teaches a new Delta blues turnaround. This lick was inspired by Robert Johnson.
Length: 7:12 Difficulty: 2.0 Members Only
Robert Johnson Style
Hawkeye Herman teaches more components of Robert Johnson's signature sound.
Length: 27:38 Difficulty: 2.0 Members Only
Movable Chords
Hawkeye introduces some common, movable chord shapes.
Length: 17:42 Difficulty: 2.0 Members Only
Movable Chord Review
Hawkeye reviews movable chords in this lesson. He explains how these chord voicings can be used in a practical blues context.
Length: 5:41 Difficulty: 2.0 Members Only
Basic Blues Scale
Hawkeye Herman introduces the minor pentatonic scale in this lesson, the most commonly used scale in blues lead guitar.
Length: 23:54 Difficulty: 2.0 Members Only
Passing Notes
Hawkeye builds on the pentatonic scale. He introduces "blue" notes, which transform the pentatonic scale into the minor blues scale.
Length: 12:50 Difficulty: 2.0 Members Only
Scales and Keys
Hawkeye explains how to transpose the minor pentatonic and minor blues scales to different keys.
Length: 21:18 Difficulty: 2.0 Members Only
Finding the Key
Hawkeye Herman explains how to determine the key of a blues song. This information is essential if you wish to play lead over a song.
Length: 15:31 Difficulty: 2.0 Members Only
Lightnin' Hopkins Style
In this lesson, Hawkeye will bring together much of what he has taught in this lesson series and apply it to the style of Lightnin' Hopkins.
Length: 16:36 Difficulty: 2.0 Members Only
Treble Shuffle
Hawkeye explains how to play the blues shuffle on the treble strings.
Length: 9:22 Difficulty: 2.0 Members Only
The Great River Road
Hawkeye Herman teaches you how to play his original song, "The Great River Road," in this phenomenal lesson.
Length: 16:39 Difficulty: 2.0 Members Only
Mississippi John Hurt Style
Hawkeye covers the guitar style of Mississippi John Hurt. This style makes heavy use of alternating bass lines.
Length: 14:48 Difficulty: 2.0 Members Only
Piano Blues
Hawkeye teaches an original piece called "Piano Blues." He teaches this song to further demonstrate the alternating bass line.
Length: 13:20 Difficulty: 2.5 Members Only
Blues Accompaniment
Hawkeye Herman teaches a beautiful blues accompaniment pattern.
Length: 10:11 Difficulty: 2.5 Members Only
Stop-Time Blues
Hawkeye introduces the stop-time blues rhythm.
Length: 17:21 Difficulty: 2.5 Members Only
Sweet Home Chicago
Hawkeye Herman explains how to play Robert Johnson's "Sweet Home Chicago."
Length: 16:17 Difficulty: 2.5 Members Only
Eight Bar Blues
Hawkeye introduces the eight bar blues progression.
Length: 22:28 Difficulty: 2.0 Members Only
8 Bar Blues Key Transposition
Hawkeye takes the 8 bar blues material from the last lesson and explains how to transpose it to different keys.
Length: 6:39 Difficulty: 0.5 Members Only
Classic 8 Bar Blues
Hawkeye teaches a classic 8 bar blues tune in the style of Brownie McGhee and Big Bill Broonzy.
Length: 25:10 Difficulty: 2.0 Members Only
Playing Multiple Notes
In this lesson Hawkeye revisits the blues/pentatonic scale and talks about playing multiple notes at the same time.
Length: 9:42 Difficulty: 1.5 Members Only
Classic End Tag
Hawkeye Herman teaches a classic blues song ending. He also explains how it can be played in different keys.
Length: 9:42 Difficulty: 2.0 Members Only
Basic Blues Slide
Hawkeye Herman covers the basics of slide technique and provides exercises to demonstrate them.
Length: 25:49 Difficulty: 2.5 Members Only
Slide Guitar and Open D Tuning
Hawkeye Herman introduces open D tuning. He explains how to play a 12 bar blues progression with a slide in this tuning.
Length: 14:56 Difficulty: 2.5 Members Only
Ramblin' On My Mind
Hawkeye Herman demonstrates the classic Robert Johnson song, "Ramblin' On My Mind" in open D tuning.
Length: 8:41 Difficulty: 2.5 Members Only
Blues Shuffle in Open D
Hawkeye explains how to play the blues shuffle in open D tuning.
Length: 0:00 Difficulty: 2.0 Members Only
Open D Harmony Shuffle
Hawkeye teaches the "harmony" version of the shuffle in open D tuning.
Length: 5:15 Difficulty: 2.0 Members Only
Open D Turnaround
Hawkeye teaches a simple blues turnaround in open D tuning.
Length: 9:00 Difficulty: 2.5 Members Only
Open D Slide Licks
Hawkeye Herman teaches some open D slide guitar licks. These licks are inspired by the song "Ramblin' On My Mind" by Robert Johnson.
Length: 8:14 Difficulty: 3.0 Members Only
Pentatonic Scale in Open D
Hawkeye Herman explains how to play the D minor pentatonic scale in Open D tuning.
Length: 4:00 Difficulty: 2.5 Members Only
Ramblin' On My Mind
Hawkeye challenges you to play "Ramblin' On My Mind" using the techniques from the past couple of lessons.
Length: 4:03 Difficulty: 3.0 Members Only
Rock and Slide Guitar
Hawkeye shows that open D tuning and slide guitar are not exclusive to the blues. He provides an exercise that demonstrates how this tuning can be used in rock music.
Length: 15:55 Difficulty: 2.5 Members Only
D Tuning Chords
Hawkeye returns to the world of open D tuning. He introduces various chord voicings and explains how they can be used in the blues.
Length: 10:00 Difficulty: 0.5 Members Only
You Got to Move
In this lesson, Hawkeye teaches a classic blues song by Mississippi Fred McDowell - "You Got to Move."
Length: 9:03 Difficulty: 2.5 Members Only
You Got to Move Melody
Hawkeye Herman demonstrates how to play the melody of "You Got to Move" with a slide.
Length: 6:51 Difficulty: 2.5 Members Only
Slide Guitar and Blues Licks
Hawkeye Herman talks about playing and creating blues licks with the slide.
Length: 9:53 Difficulty: 2.5 Members Only
Elmore James Style
Hawkeye Herman breaks down important aspects of Elmore James' style.
Length: 23:11 Difficulty: 2.5 Members Only
Blues Licks and Riffs
Hawkeye teaches some versatile blues licks and riffs that can be used in open D tuning.
Length: 11:15 Difficulty: 2.5 Members Only
Open G Tuning
Hawkeye Herman teaches the basics of open G tuning.
Length: 7:28 Difficulty: 2.0 Members Only
G Tuning Chords
Hawkeye gives a brief overview of chords and how they are played in open G tuning.
Length: 6:11 Difficulty: 1.5 Members Only
Blues Scale in Open G Tuning
Hawkeye gives a brief rundown of how the blues / minor pentatonic scale can be played in open G tuning.
Length: 4:48 Difficulty: 1.5 Members Only
G Tuning Accompaniment
Hawkeye talks about playing accompaniment using open G tuning.
Length: 7:44 Difficulty: 2.5 Members Only
Improvising in G Tuning
Improvisation using the minor pentatonic / blues scale is discussed in open G tuning. Hawkeye also touches on Robert Johnson's song, "Walkin' Blues."
Length: 7:26 Difficulty: 2.5 Members Only
Open G Shuffle Rhythm
In this lesson, Hawkeye Herman talks about playing the blues shuffle in open G tuning. He also shows some basic turnarounds.
Length: 10:37 Difficulty: 2.5 Members Only
Open G Shuffle Variations
Hawkeye reviews the blues shuffle in open G tuning. He demonstrates shuffle variations as well as a few licks, turnarounds, and other tidbits.
Length: 15:45 Difficulty: 2.5 Members OnlyLesson 61
Robert Johnson Licks
Hawkeye teaches several Robert Johnson licks in this lesson. These licks are played with a slide in open G tuning.
Length: 14:40 Difficulty: 2.5 FREE
G Tuning and the Capo
Hawkeye introduces the capo and explains how it can be used. This lesson is still in the context of G tuning.
Length: 10:28 Difficulty: 2.5 Members Only
Come On In My Kitchen
Hawkeye Herman showcases the power of slide guitar by demonstrating the classic Robert Johnson song, "Come On In My Kitchen."
Length: 6:33 Difficulty: 3.0 Members Only
Skip James Style
Hawkeye Herman gives a brief rundown of Skip James' blues guitar style. This lesson also focuses on playing in open tunings without a slide.
Length: 19:15 Difficulty: 3.0 Members Only
Open D to Open G
Hawkeye demonstrates how to take a song from open D tuning and play it in open G. He uses the song "No Expectations" by the Rolling Stones as an example.
Length: 10:26 Difficulty: 0.5 Members Only
Drop D Tuning
Hawkeye shows you the wonders of drop D tuning and teaches his rendition of "Big Road Blues."
Length: 30:30 Difficulty: 3.0 Members Only
Statesboro Blues
Hawkeye goes over the fantastic song "Statesboro Blues" by Blind Willie McTell in Drop D tuning.
Length: 27:12 Difficulty: 2.5 Members Only
Blind Lemon Jefferson
Hawkeye discusses some history behind the great blues guitarist Blind Lemon Jefferson. He covers the song "Matchbox Blues" to provide an example of his style.
Length: 19:40 Difficulty: 2.0 Members Only
Minor Blues
Hawkeye explains the chord changes used in a minor blues progression.
Length: 12:53 Difficulty: 2.0 Members Only
The Capo
Hawkeye talks about the capo and its many uses.
Length: 22:32 Difficulty: 2.0 Members Only
Song Endings
By user request, Hawkeye shares ideas on how to end songs in this lesson.
Length: 21:26 Difficulty: 2.0 Members Only
Stop Time Blues
In this lesson, Hawkeye Herman returns to the wonderful world of stop-time blues. He teaches a few more ways to play in this glorious style.
Length: 17:53 Difficulty: 0.5 Members Only
Eight Bar Blues
Hawkeye talks about the eight bar blues and uses some classic blues songs as examples.
Length: 26:19 Difficulty: 3.0 Members Only
Blues Mambo
Hawkeye talks all about the blues mambo in this lesson.
Length: 16:09 Difficulty: 2.5 Members Only
Movable Endings
Hawkeye explains how all the endings you've learned up to this point can be transposed to any key.
Length: 31:53 Difficulty: 3.0 Members Only
Movable Blues Scale
Hawkeye talks about transposing the minor pentatonic scale to various keys.
Length: 16:58 Difficulty: 3.0 Members Only
Blues Scale Lead
Hawkeye explains how the blues scale can be used to play lead in any song.
Length: 30:57 Difficulty: 3.0 Members Only
Spanning the Neck
Hawkeye explains how the blues scale can span the neck in any key.
Length: 22:09 Difficulty: 3.5 Members Only
The Blues Had a Baby
Hawkeye talks about the background of rock 'n roll and how it is connected to blues.
Length: 21:42 Difficulty: 2.0 Members Only
Fun Licks
This lesson is filled with fun licks and lick techniques.
Length: 17:32 Difficulty: 3.0 Members Only
Spanning the Neck Continued
Hawkeye brings more blues wisdom to you in this lesson about spanning the neck.
Length: 18:18 Difficulty: 3.0 Members Only
Barre Chords Refresher
Hawkeye provides a few useful tips on playing barre chords.
Length: 13:18 Difficulty: 2.0 Members Only
Chord Relationships
Hawkeye discusses how the visual shapes of chords relate to one another on the fretboard.
Length: 15:06 Difficulty: 3.0 Members Only
Chord Relationships Continued
Hawkeye explains how to find the I, IV, and V chords in all 12 major keys.
Length: 8:43 Difficulty: 3.0 Members Only
Shuffle Rhythm Review
Hawkeye answers member questions on the shuffle rhythm.
Length: 16:19 Difficulty: 2.0 Members Only
Key of A Idea
Hawkeye shares an idea in the key of A that you can apply to your blues playing.
Length: 18:15 Difficulty: 3.0 Members Only
Thumbpick Vs. Flatpick
Thumbpick Vs. Flatpick: A most common question asked among guitarists is discussed in this lesson.
Length: 15:13 Difficulty: 0.5 Members Only
Capo Ideas
Hawkeye shares his ideas on the capo and explains why he thinks it is important for every guitarist to own one.
Length: 18:34 Difficulty: 0.5 Members Only
Everything is Movable
Hawkeye reiterates that everything is movable on the guitar and provides some fresh new ideas.
Length: 12:27 Difficulty: 2.0 Members Only
Bass Notes in Treble
Hawkeye explains how to add variety to the shuffle pattern by transferring the bass notes to the treble register and by adding palm muting. He also explains how you can create your own shuffle variations.
Length: 21:21 Difficulty: 2.0 Members Only
Treble Shuffle
Hawkeye provides more amazing tips and tricks on moving your shuffle rhythm to the treble for a unique sound.
Length: 16:50 Difficulty: 3.0 Members Only
Creating Solos
Hawkeye revisits the techniques learned in the last few lessons and explains how to tie tie them together to create solos.
Length: 9:46 Difficulty: 2.0 Members Only
Transposing Songs
Hawkeye provides some great tips for transposing any song you want to learn to a different key.
Length: 17:31 Difficulty: 3.0 Members Only
History of Blues
This exciting lesson dives into some of the earliest history of blues music and how it has shaped popular music today.
Length: 13:52 Difficulty: 0.5 Members Only
Blues is the Roots
Hawkeye Herman explains why "blues is the roots, and everything else is the fruits."
Length: 8:41 Difficulty: 1.0 Members Only
The Style of Hank Williams
Hawkeye discusses the history and style of Hank Williams.
Length: 17:07 Difficulty: 2.0 Members Only
The Style of Jimmie Rodgers
Hawkeye demonstrates some key aspects of Jimmie Rodgers' style.
Length: 12:30 Difficulty: 2.0 Members Only
Boom-Chicka Strum
Hawkeye demonstrates the "boom-chicka" strum and explains various ways you can incorporate it into your playing.
Length: 22:44 Difficulty: 2.0 Members Only
Fun Runs
Hawkeye Herman explains how to spice up your rhythm playing by incorporating bass runs between chord changes.
Length: 16:20 Difficulty: 2.0 Members Only
Review & Practice
Hawkeye Herman celebrates lesson 100 with a short but sweet review of what you've learned in the past couple of lessons.
Length: 6:51 Difficulty: 2.0 Members Only
Song Medley
Hawkeye Herman demonstrates rhythmic concepts from earlier lessons by playing a fun medley.
Length: 13:08 Difficulty: 2.0 Members Only
Hawkeye's Favorite Licks
Hawkeye shares some of his favorite licks in this lesson.
Length: 22:35 Difficulty: 3.0 Members Only
More Fun Licks
Hawkeye teaches more fun licks to add to your blues bag of tricks.
Length: 31:20 Difficulty: 2.5 Members Only
More Licks Up the Neck
Hawkeye Herman is back with some more classic blues licks that span the length of the fretboard.
Length: 26:20 Difficulty: 2.5 Members Only
Bass Licks
Hawkeye explains the importance of playing licks over the entire neck of the guitar.
Length: 21:33 Difficulty: 2.0 Members Only
Rock Me Lick
Hawkeye Herman shares a lick that is commonly known as the "Rock Me Baby" Lick. He explains how this lick can be incorporated into a performance of this classic B.B. King song.
Length: 19:09 Difficulty: 2.0 Members Only
Turnaround Positions
Hawkeye discusses how ideas derived from turnarounds can be incorporated into blues solos.
Length: 8:19 Difficulty: 2.0 Members Only
Instrumental Themes
Hawkeye Herman talks about instrumental themes and how you can add lead fills to them.
Length: 18:03 Difficulty: 3.0 Members Only
Instrumental Themes Continued
Hawkeye continues his discussion on instrumental themes and blues.
Length: 23:42 Difficulty: 2.5 Members Only
Ninth Chords
Hawkeye Herman explains how dominant 9th chords are formed and how they can be used in blues music.
Length: 15:16 Difficulty: 3.0 Members Only
Ninth Chords Continued
Hawkeye Herman continues his discussion on 9th chords.
Length: 26:52 Difficulty: 2.5 Members Only
More Eight Bar Blues
Hawkeye Herman shares more eight bar blues knowledge in this fun and information-packed lesson.
Length: 23:57 Difficulty: 2.5 Members Only
Using a Tuner
Hawkeye shares his thoughts on tuners in this lesson.
Length: 6:38 Difficulty: 0.5 Members Only
Introducing the Capo
In the 114th installment of his Blues Series, Hawkeye introduces the capo. He demonstrates how this valuable tool allows you to transpose chord voicings to various keys.
Length: 23:21 Difficulty: 2.5 Members Only
Forming Barre Chords
Having trouble getting those fingers to form barre chords? In lesson #115 of his Blues Series, Hawkeye covers some tips and techniques to help with these problematic chord shapes. Any beginner can master...
Length: 10:03 Difficulty: 2.5 Members Only
4 Up, 5 Down Applied Concept
Hawkeye explains why the adjacent strings on the guitar are tuned in perfect fourths and how this relates to left hand fingering.
Length: 18:44 Difficulty: 3.0 Members Only
Relative Chord Shapes
Hawkeye continues where he left off in lesson 116 and explains how the tuning of the guitar relates to commonly used chord shapes.
Length: 16:43 Difficulty: 2.0 Members Only
Transposing Notes / Changing the Key
Hawkeye Herman reviews important transposition concepts. Here he demonstrates how to change the key of a song so that it is appropriate for your vocal range.
Length: 20:31 Difficulty: 3.0 Members Only
All About Finger Picking
Hawkeye takes a look at this important right hand technique.
Length: 20:54 Difficulty: 3.0 Members Only
Bo Diddley Beat
Hawkeye provides a history lesson on Bo Diddley. He also demonstrates how to play the classic "Bo Diddley Beat." This rhythmic pattern appears in countless blues and rock songs.
Length: 20:15 Difficulty: 2.0 Members Only
Thematic Bass Lines
Hawkeye teaches some blues bass lines that can be applied to the twelve bar blues form.
Length: 19:04 Difficulty: 2.5 Members Only
Bass Lines Continued
Hawkeye continues on from his 121st lesson with more examples of blues bass lines for guitar.
Length: 7:14 Difficulty: 2.5 Members Only
Lead Bass Ideas
Hawkeye dives into some lead bass ideas. He demonstrates how a classic Eric Clapton riff can be used over the twelve bar blues form in any key.
Length: 12:57 Difficulty: 3.0 Members Only
Willie's Bounce
Hawkeye teaches the bass line riff to his song "Willie's Bounce."
Length: 16:31 Difficulty: 3.0 Members Only
Finger Picking Part 2
Hawkeye continues his discussion on finger picking.
Length: 12:27 Difficulty: 3.0 Members Only
The Texas A
Hawkeye Herman teaches a version of the A chord that he calls "The Texas A."
Length: 13:59 Difficulty: 3.0 Members Only
Blues Scale: Adding the Major 3rd
Hawkeye breaks down the blues scale and demonstrates how to appropriately add the major 3rd.
Length: 26:16 Difficulty: 3.0 Members Only
Double Stops
As demonstrated in previous lessons, Hawkeye opens up the world of double stops. Hawkeye teaches some classic Chuck Berry licks to demonstrate how double stops can be used effectively.
Length: 11:53 Difficulty: 2.5 Members Only
Scrapper Blackwell
Hawkeye introduces the guitar stye of Scrapper Blackwell. He uses the song Scrapper called "E Blues" as a starting point.
Length: 20:46 Difficulty: 2.5 Members Only
Influence of Blind Lemon Jefferson
History flows deep in blues music. Hawkeye discusses the influence of Blind Lemon Jefferson. This lesson is one for the history books.
Length: 22:43 Difficulty: 2.0 Members Only
Humming and Strumming
Hawkeye opens up some ideas on how to "plan ahead" in your playing. Similar to riding a bike, you need to look forward to see where your going. Humming what you want to play allows you to anticipate the...
Length: 18:49 Difficulty: 4.0 Members Only
Katrina, Oh Katrina
Inspired by the tragedy of Hurricane Katrina, Hawkeye was commissioned by the BBC to write a song about Katrina. Hawkeye demonstrates this song and recalls his thought process in writing this song.
Length: 29:53 Difficulty: 3.0 Members Only
All About the Hammer-on
Hawkeye demonstrates how a hammer-on can be used to open up doors in your playing. Hawkeye shows you how to achieve this technique and use it successfully in your playing.
Length: 24:07 Difficulty: 3.0 Members Only
The Pull-off
Hawkeye covers the pull-off, best friend of the hammer on. This technique is used to achieve the same goal as the hammer-on, yet with a completely different finger movement.
Length: 15:02 Difficulty: 3.0 Members Only
Using Hammer-ons and Pull-offs Together
Hawkeye combines lessons 133 and 134 and demonstrates some examples of how to utilize the hammer-on and pull-off techniques together to enhance your overall blues guitar skills.
Length: 10:27 Difficulty: 3.5 Members Only
The Quick Change
The 12 bar form is a staple in the world of blues music. However, there are plenty of different ways to arrange it. This lesson covers what is commonly called "The Quick Change."
Length: 15:15 Difficulty: 2.0 Members Only
Starting on the IV Chord
Hawkeye demonstrates how to change up a traditional 12 bar blues progression by starting on the IV chord.
Length: 16:51 Difficulty: 2.5 Members Only
The Talking Blues
Hawkeye demonstrates yet another form of blues known as the "Talking Blues." This style is indicative of its name. It features a talking vocal style played over a I, IV, V chord progression.
Length: 24:43 Difficulty: 4.0 Members Only
Utilizing 9th Chords
Need a slightly different voicing to spice up your playing? 9th chords will give your blues playing a colorful, urban sound.
Length: 24:53 Difficulty: 3.5 Members Only
Minor Tuning, Major Sound
Hawkeye breaks out his slide and demonstrates how chord progressions in major keys can be played in open minor tunings.
Length: 4:43 Difficulty: 1.0 Members Only
Style of Elmore James
Hawkeye offers up some tricks and techniques that Elmore James utilized in his style of playing.
Length: 25:52 Difficulty: 3.5 Members Only
Style of Son House
In lesson 142, Hawkeye dives into the style of Son House. House pioneered an innovative style featuring strong, repetitive rhythms often played with a slide.
Length: 14:32 Difficulty: 3.5 Members Only
About Hawkeye Herman
View Full Biography
""One of America's finest acoustic guitarists and blues educators."
Cascade Blues Association
"Herman plays with a sensitive, reflective touch that continually draws
attention to his vocals, which are effectively understated and free of
affectation... Herman can rock with the best of them. A solid choice for fans of
traditional acoustic blues."
Living Blues Magazine
" ...plays haunting music on a mournful guitar."
Los Angeles Times
"The only thing better than hearing this live album is seeing Hawkeye Herman
in the flesh. Whether adding his own spin to blues classics or offering his
own songs, Herman is a one-man history of blues, noteworthy guitar player and
inimitable communicator. Miss him at your peril."
Blues Access
With over 40 years of performing experience, Michael "Hawkeye" Herman
personifies the range of possibilities in blues and folk music. His dynamic blues
guitar playing and vocal abilities have won him a faithful following and he leads
a very active touring schedule of performances at festivals, concerts, school
programs and educational workshops throughout the U.S., Canada, and Europe.
His original music has been included in video dramas and documentaries and in
four hit theatrical productions.
In 2000, Hawkeye was awarded Philadelphia's
Barrymore Award for Excellence in Theatre for best original music in a
theatrical production. "Everyday Living," Hawkeye's first nationally released album
from 1987, now reissued on CD, features the late blues giants Charles Brown and
"Cool Papa" Sadler, and established the demand for his now long-standing
festival and concert touring. His latest CDs and DVD, "Blues Alive!" (CD), "It's
All Blues To Me" (CD), and "Hawkeye Live In Concert" (DVD) have been greeted
with rave reviews. Hawkeye's journalistic efforts have been published in numerous
national and regional blues and music-related periodicals.
In 1998 he was the
recipient of the Blues Foundation's "Keeping The Blues Alive" award for
achievement in education. He served on the Board of Directors of the Blues
Foundation for six years. Hawkeye was inducted into the Iowa Blues Hall of fame in
2004. In September of 2005, Hawkeye composed, at the request of the British
Broadcasting Company (BBC), "Katrina, Oh Katrina (Hurricane Blues)," detailing the
hurricane disaster on the Gulf Coast. The song was aired to over 7 million
listeners on the popular "BBC Today" program. He is the cofounder of the Rogue
Valley Blues Festival, Ashland, OR.
This musician has definitely carved out a
spot for himself in the contemporary acoustic blues/folk field, and has earned a
reputation as one of the most accomplished artists in the genre, and
audiences throughout the US/Canada/Europe have come to know and appreciate Hawkeye's
talent, dedication, and captivating performances.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Hi Hawkeye. Still hanging in, and this lesson was another jewel. My math is shakey, so instead of counting to the 6th note in whatever scale, I go back 1 1/2 steps from the key note. That make sense? Of course with the visual approach I won't have to do that either. The more I play the faster the new stuff comes; for this older man it's very exciting.
Enter your comment here.
Hints for playing the song and adding variations to the accompaniment style: You should be aware, notice, that I like to add variations to "Folsom Prison Blues" by hammering on within the E chord on the 5th string from open (A note) to 2nd fret (B note) ... and also adding the low G note on the lowest E string/6th string at the 3rd fret of the 6th/E string with my pinky/little finger ... and I also sometimes play an E6 chord by adding to an E chord the note at the 2nd fret of the B/2nd string with my pinky: http://www.google.com/imgres?imgurl=http://www.play-acoustic-guitar.com/images/E6-Free-Printable-Guitar-Chord-Chart.png&imgrefurl=http://www.play-acoustic-guitar.com/e6-guitar-chord.html&h=512&w=522&sz=93&tbnid=hLXornzXmx6K0M:&tbnh=128&tbnw=131&prev=/search%3Fq%3DE6%2Bguitar%2Bchord%26tbm%3Disch%26tbo%3Du&zoom=1&q=E6+guitar+chord&hl=en&usg=__uKNHJ-_WPUeZ14QJi-EWZoLXNSg=&sa=X&ei=BrgET9_xFonYiAKmyajJDg&ved=0CCIQ9QEwBA
This number 77 is such a great lesson Hawkeye. It has even more benefit than the title implies. I was particularly struck by how you played the section in Scene 5 "Down Three Frets" from 4:13 to 4:47. I have been trying to duplicate your handling of the chords for Folsom Prison Blues in which you appear to embellish the treble and bass portions of those chords. It sounds great! I would love to see a short lesson on how you do that. In the meanwhile I will keep going back to the lesson and try to figure it out. I LOVE IT!
Thanks so much for the kind words and for enjoying these lessons, Joe. Very much appreciated. I've given a lot of thought and planning as to the order of these lessons. I hope you follow them in the order they are presented, patiently progressing from one lesson to the next at your own speed. By following the lessons in the order they are presented you will gain a strong foundation and understanding of blues music that will serve you well and hopefully give you the tools/skills/information to play blues guitar freely and even improvise creatively. Hints on "Folsom PRison Blues": I hammer on the 5th (A) string B note of the E chord, and I sometimes play an E6 chord by adding to an E chord the note at the 2nd fret of the B/2nd string with my pinky: http://www.google.com/imgres?imgurl=http://www.play-acoustic-guitar.com/images/E6-Free-Printable-Guitar-Chord-Chart.png&imgrefurl=http://www.play-acoustic-guitar.com/e6-guitar-chord.html&h=512&w=522&sz=93&tbnid=hLXornzXmx6K0M:&tbnh=128&tbnw=131&prev=/search%3Fq%3DE6%2Bguitar%2Bchord%26tbm%3Disch%26tbo%3Du&zoom=1&q=E6+guitar+chord&hl=en&usg=__uKNHJ-_WPUeZ14QJi-EWZoLXNSg=&sa=X&ei=BrgET9_xFonYiAKmyajJDg&ved=0CCIQ9QEwBA .... I hope you continue to enjoy these lessons.
PERFECT....Thank you Hawkeye
Many of you have asked about the guitar I'm using in this section of my lessons. It's a 1964 Martin model O-18. It has a very small body, frequently referred to as a 'parlor guitar' ... it's referred to as a 'parlor guitar' because the O-18 body size was very popular in the late 19th and early 20th Century when folks met and played for social enjoyment and comradship in ensembles in their living rooms and parlors, before the phonograph and radio become popular as a means of entertainment and pastime ... the diminutive/small body size lent it self to be more readily played by women ... who might have trouble dealing with the larger sizes of guitar bodies and wider neck(s). The O-18 model has a very sweet sound and is an excellent guitar for studio recording. This model of Martin guitar is no longer available new ... it's no longer produced by Martin on a regular basis ... and it's only available on special order. I DON'T play this guitar when I perform because I generally don't like the narrowness of the neck ... I have big hands/fingers ... and the narrow neck 'cramps' my style ... I used this guitar for this section of my lessons because it records well ... and, mainly, because I like to show folks that they can play blues on ANY guitar ... as long as it sounds good to your ears and fits/is comfortable in your hands. This guitar sounds great ... but is not what I play on a regular basis because of the narrowness of the neck is not truly comfortable for me over the 'long haul' when I'm performing in concert and at festivals.
Dear Hawkeye, sometimes I spend too much time in theories and other technical aspects and not enough on practice and I believe it’s to do with my work background. Anyway, can you help me out to understand when do we apply major v/s minor pentatonic in Blues ? A minor pentatonic : A C D E and G whereas A major pentatonic : A B C# E F . A good proportion of blues songs use major chords (or 7th) e.g A E B . Should we play the A major pentatonic for those rather than E minor Pentatonic. Whilst some blues songs may go like Am Em Bm .Should we then be playing the A minor pentatonic . Thanking you for your lessons and continue with Phase 3 as the songs are simply fantastic Rama
Rama, Thanks so much for enjoying these lessons and for your question. The answer is ... in the doing. It is your job to experiment with both scales and see what happens ... no one will get hurt or injured in the process, and you will find the answer to your question. Enjoy the process of exploring using both of these scales ... and let me know your 'conclusion.' :-) Again, thanks so much for being here at JamPlay.com.
As the chord progression goes G Am C . As an experiment , I tried to play it using G9/B( 2/3 fret four fingers) , Am and C9/G ( wrap on 2/3 fret) . However, it sounds very odd . Unless, I am playing it wrong is it fair to say that these chords are more for Blues and not for normal majors. Thank you for your valuable lessons
Thanks for the comment/question, Rama. In many instances you can substitute 9th chords for the 'normal' major chords ... but not in this situation. Your ears will tell you when it works. Thanks for enjoying these lessons.
am i jumping the gun by stating that second postion minor is first mjor/? regardless you my friend are a joy to take lessons from thanx.going to your web site now.
Thanks for the kind words, David. Much appreciated. Not so much 'jumping the gun' ... you're just 'anticipating' what's yet to come. ;-) Thanks again.
When we play in G chord , then play solo Blues scale at the 6th which is E ( at Scene 2 5.28m). Can you clarify the way you went around the scale in a twisted fashion and not straight up. The lick sounds fantastic and pleasing but is there a logic to it or we can simply make up a lick so long that it is in E scale. Thank you for your fantastic lessons rcaus
Thanks for the kind comments and for your question. I'm playing the E blues minor pentatonic at the open position, while the song is in the key of G ... which makes the scale a 'limited' G major scale . I'm playing the notes of the scale in the order I've taught them in previous lessons on the blues scale, and then improvising freely. Since you state in your profile that you're a 'beginner,' and you've only been here at JamPlay.com since early August, perhaps you missed something in the previous 76 lessons? Also, I suggest you use the video controls to stop and restart and view the selection in question over and over again until you get it (one of the great benefits of video lessons is you can get me to say/do the same things a million times until you get it.). That's the best I can do here, without going into a long dissertation on music theory ... also, please go back and catch the lessons on the blues scale that you may have missed in order to get to this point in the lessons ... which are meant to be viewed in the order presented, the information in each lesson is built on the previous lesson ... I'm trying to give you a strong understanding and foundation in the music ... if you skip around/cherry pick through the lessons ... there will be many 'bricks' of information that you will lack in the creation of a strong foundation in blues music and how it applies to other genres of music, as in this lesson. Thanks again for your kind words and question.
Dear Hawkeye, I was born in Mauritius ( Indian Ocean),an island where there were slaves. I heard of Blues music when I was 15 years and wanted to learn it but due to exam pressure I had to give up on guitar. It is now a golden opportunity but at 40 years old to have you as our teacher and it took me 2 months to make an assessment of whether I should go into this venture as it's in fact a lifetime learning. As from last week, I started all over again and this time spending more time on each lesson . Thank you for the lessons Regards rcaus
I'm glad you're enjoying these lessons. It's never too late to begin an interesting, worthwhile, and entertaining journey. I hope you continue to enjoy these lessons, and that you continue to improve your skills and play blues music ... forever. ;-) Thanks so much for your kind comments and appreciation for these lessons.
I love this site!!! Especially Hawkeye. One thought/tip that might be helpful here. I watched this several months ago and frankly didn't get it. Watching again today I had an "AHA" moment. In your blues scale, the index finger defines the key in blues/major. That exact same shape, but with the PINKY rather than the index finger, defines the key in major. The counting up six notes is helpful, but I'm visually oriented. Once I got the index vs. pinky thing, the lightbulb came on. All the other shapes in the blues/pentatonic fall into place too. WOW.
OOPs. The index defines the key in blues/MINOR. The pinky defines the key in major.
Thanks so much for enjoying these lessons and for you kind comments. PLease don't get ahead of yourself ... stick with the lesson plan ... I've given a lot of thought to the content and order of these lessons ... please study the lessons in the order I've presented them, and in due time 'all will be revealed to you' in regard to using the blues scale to play major rather than minor. ;-) Thanks so much for traveling with me here on the 'blues highway' at JamPlay.com. I hope you continue to enjoy these lessons.
Hawkeye do you ever do guitar workshops in Phoenix Az?
Thanks for asking. I haven't done any workshops in AZ, sorry to say. Most of the guitar workshops that I do are in association with or in tandem with my appearance/performance at blues festivals. So it follows, there are blues societies in AZ ... the Phoenix Blues Society and the Tucson Blues Society... both sponsor events like blues festivals and concerts ... if you'd kindly 'refer' them to me ... perhaps they might consider bringing me there to perform and do a workshop. I'd love to. Thanks again for asking. I do hope to perform and teach in AZ ... someday.
Hawkeye where do you mainly go then?? Califonia? or more midwest -east coast? I would love to go to a blues festival/workshop. I really only know a couple blues clubs here in Phoenix but they play great live music.
I go everywhere ... I don't go to just one region exclusively ... I travel and perform in concert and at festivals all over North and South America and in Europe ... I have yet to perform/teach in Asia and Australia ... but I hope to. You can see my tour schedule easy enough here: http://www.hawkeyeherman.com/tour_schedule.htm Yes, there are a few blues clubs in Phoenix with great music, like the Rhythm Room in Phoenix, ... but I no longer play in bars/pubs/clubs ... I did that for more than 25 years ... for the past ten years I only perform in concert halls, at outdoor blues/folk/jazz festivals, workshop presentations, and in-school presentations/concerts ... I don't accept bar/pub/club gigs ... but there is a wintertime blues festival in Phoenix put on by the Phoenix Blues Society ... if you really want to be 'in touch' with what's going on in your area you should join the Phoenix (or Tucson) Blues Society (www.phoenixblues.org) ... and of course, referring them to my would be very much appreciated. I'd love to come to Phoenix to perform and teach. Thanks so much for enjoying these lessons and your interest in having me do a workshop in your area. I hope it happens in the future. I'll go anywhere I'm invited ... if the concert/festival venue and the price is right. I hope to see ya in Phoenix ... someday ... sooner than later.
sweeeeeeeeet i love the dylan song
Thanks! ... I rearrange/adapt many of Dylan's songs using blues techniques ... and this approach in lesson #77 is very useful for playing lead in songs that are not strictly blues songs. I hope you continue to enjoy these lessons.
I thought I might Post this information for those who are having some trouble finding the correct Key. Refer to Hawkeye's lesson #24 which is a big help.Then you can apply the techniques Hawkeye teaches in this most important lesson.
Thanks for posting this, Dennis. I think I'll place a post to the lesson you refer to in the forum area, as well, under it's own topic heading/title ... for those in need of this information. Much appreciated.
Thanks Hawkeye. Really enjoyed this lesson,and I certsinly can use the info Dennis(Canyonville)
Thanks for the message, Dennis. There's much more to come in this 'area of study' ... learning to play lead blues guitar. I hope you keep your guitar out of the closet and continue to enjoy these lessons.
I already left a message here before, but i decided i needed a revision of this amazing technique. I just wanted to ask, just before the end there you were playing a johnny cash song, folsom prision blues (i think), in the key of E. When you played the 2 chord, Fm, you didn't hold an Fm shape chord, what exactly were you doing there, it sounded fab? OB
Thanks for the question/comment. There are three sections to this video ... please be more specific ... "...near the end" ... isn't enough information for me to find what you're referring to ... so, please tell me which of the three video sections you are referring to "Near the end", and using the little 'time clock' in the right hand corner of the videos, please tell me at exactly what minute/second it happens. Thanks.
thx for the lesson hawkeye it was fun. but am i right on what i noticed that im playing the major blues scale when i go back three steps?
Thanks for enjoying these lessons ad for your question. The 'major blues scale" ... ? ... sorry, I don't understand your terms. Forget that 'label'/term ... what you're doing is playing a minor pentatonic scale that has been moved down three frets and now replicates a major scale in the same as the original minor blues scale key you were in. You're playing the minor pentatonic blues scale at the 'relative sixth' position. For example, play the pentatonic minor blues scale in the key of C at the 8th fret. Now, move that same scale down three frets to the 5th fret (where a barred A or Am chord would be ... A/Am is the relative 6th of C) ... and now you're playing, at the 5th fret, a partial C major scale. You've got the idea correct ... just don't call this a 'major blues scale' ... that doesn't work for me and does not communicate accurately what we're doing here. If somebody asks you what the concept is you'd respond that you're 'playing the fingering positions for a pentatonic minor blues scale' at it's relative sixth position, which creates a partial major scale in the same key as the blues scale you were playing. Don't be confused by terms, and don't assume you can 'create' terms of your own ... like 'major blues scale' ... we already have musical terms that are universal and communicate clearly to others (I hope ;-) what we're trying to do. If all else fails, forget the 'terms,' and just practice and play. Bottom line, as long as you understand and can accomplish the concept I'm trying to teach you, I could care less if you know how to put the concept 'into words.' Again, thanks so much for enjoying these lessons.
i understand now thank you hawkeye
GENIUS, JUST PURE GENIUS!! THAT LESSON ALONE, HAWKEYE, IS WORTH THE PRICE OF MEMBERSHIP TO JAMPLAY!!
Hey, are you yelling at me? :-) Those capital letters hurt my ears. :-) So, glad this lesson struck a 'chord' with you. Now, go play lead along with everything in your music/record collection. I hope your find other 'gems' like this in the course of your travels with me on the 'blues highway.'
If this is not the most useful lessons ever. Thanks so very much! I had to watch it again just to check I hadn't dreamt it. If there is 1 thing I take away from Jamplay, this will be it. I enjoyed watching your lesson sets too. They've been great!
Thanks so much. I'm so glad you recognize the 'power' that this concept brings to your playing. For more on this, may I suggest: http://www.jamplay.com/forums/showthread.php?t=5829 ... http://www.jamplay.com/forums/showthread.php?t=5827 ... http://www.jamplay.com/forums/showthread.php?t=5669 ... I hope you use the information you've received here for the rest of your life. :-) Thanks again.
and came the light!!! Thanks, gracias, merci Hawkeye.
patsend. You're most welcome. Thanks so much for 'seeing the light.' Now, get out your Pink Floyd albums and see if you can play along :-) I hope you continue to enjoy these lessons.
Thank you so much from an Iowan, (Waterloo)! I've been toying with this idea for many years, you made the light come on completely! I'll never forget this, you just increased my versatility by 100%!
Gary, Thanks so much. Glad to help. It's never too late for the pieces of the 'puzzle' to fall into place. There are free guitar lessons at my web site here: http://www.hawkeyeherman.com/guitar-lessons.htm and I highly recommend you check this out, as it could be very helpful to you: http://www.hawkeyeherman.com/pdf/lessons/Spanningtheneck-A.pdf Thanks again for enjoying these lessons and for taking the time to leave a comment. From a fellow Iowan (Davenport).
great lesson Hawkeye. i kinda found this out by accident with one or two songs and didn't even know it until i saw your lesson and as you can imagine, the skies opened up!! thanks for the lesson!!
mike4370, Thanks for the kind comment. It's most satisfying for me to share the information with y'all ... and especially when a particular piece of information/lesson opens the doors of perception for you ... giving you an "Aha! moment" ... that will last you a lifetime on the guitar. I hope you continue to enjoy these lessons.
Thank you for this real highlight in your lessons Hawkeye. You explain these techniques so well and avoid the problem of most books I have tried to learn from where they bomard you with technical terms and detailed analysis. They forget the important thing is that you can play it and it sounds good. Thanks also for brightening my day - you were even more enthusiastic and cheerful than usual on this lesson (and you already raise the bar high on that front). Having buried my cat of near 19 years at lunchtime today you were a real tonic this evening. If anyone has a problem remembering that its three frets down from the major to the minor scale there is another way of working this out. I think this shows how blues and the guitar are just perfectly designed for people. Put your little finger on the first string at the fret which is the root note of the major. Then put your ring finger on the one below, your middle finger on the one below that and then your index finger on the next one. Now that's useful - your index finger is on the right fret for the minor blues scale. See we have just the right number of fingers - now doesn't that mean we're meant to play the blues! I look forward to the next lesson when I have time tomorrow. Good night from Scotland and thanks again Hawkeye.
vikingblues, Thanks for the kind comments. My sincere sympathies and condolences on the passing of your cat ... I'm glad these lessons served as a bit of a tonic for your current sadness. The guitar is built to be played by human hands (!!!) ... what a surprise, eh? ... hard to believe sometimes, but it's true ... the information in instructional books can be confusing ... the old blues guys that I learned directly from like Brownie McGhee, Lightnin' Hopkins, Son House, Furry Lewis, MAnce Lipscomb, Bukka white ... didn't use 'confusing' music terms ... they would say, "Hawkeye, put your fingers here and do this." Good enough for me ... good enough for me to teach you that way ...a nd the supplemental material supplied by jamplay.com by our friend Matt 'fills' in the need for tablature/notation that some folks need/require. It's all good, as long as you enjoy the process. Thanks again,
for the record, this was enlightening. thanks again for helping with our blues journey!
jkrivis, For the record, let me say "Thank you" for letting me know that you've made a break-through. This basic blues information that I'm sharing with you should serve you for the rest of your life. You'll take these 'enlightening moments/strides' all for granted in a very short period of time ... it's a normal thing ... once you 'get it' ... to accept that knowledge and use it as a part of your playing ... as just another tool in your 'tool chest' of guitar playing information/skills ... this is the foundation that I'm trying to give you ... absolutely ... to make the information a part of you ... something you know and can always count on and come back to and always find creativity and inspiration through. I believe that the guitar is a life's companion ... and won't go anywhere ... without you. Thanks so much for enjoying these lessons.
Hawkeye, what can I say, that lesson was spectacular. Every once in a while you can watch a lesson you have what Steve Eulberg descibes as an AHA moment, I am testing this right now and will continue to do so. You have just blown a huge hole in the mist of musical confusion within me. With that 30 minute lesson you have opened up a whole new world for me, all I can do at this point is thank you very much for that, I was starting to forget ehat an AHA momentfelt like.
Mark, You're most welcome. Thanks so much. I hope you find there are many more such moments within these lessons. Opening the doors of musical perception for my students is where it's at for me as a guitar instructor. As I state previously, my main goal is to inspire people to play and enjoy the process of learning and playing. If any 'new idea'/concept I share with you facilitates/compels you to play the guitar more and more, then I'm doing my job. Please keep in mind that these little 'ideas' that you find 'amusing,' enjoyable, and fulfilling to play and create with now ... will be part of your blues guitar playing/creating 'arsenal forever. Enjoy the process of discovering the many way to express yourself with the blues scale. Again, thanks so much for your kind comments. Enjoy the process and the journey.
I generally play in Piedmont style with thumb bass and index finger doing most of the work in the high strings. This is such a great tip since I can play the chords and then use this to put in some nice little scale notes in between. I'm probably gonna wear out my fingers this next week trying this. Thanks HH for this great lesson.
iuka, Thanks so much. My primary goal is to inspire people to play and enjoy the process of learning and playing. If any 'new idea'/concept I share with you facilitates/compels you to play the guitar more and more, then I'm doing my job. Please keep in mind that these little 'ideas' that you find 'amusing,' enjoyable, and fulfilling to play and create with now ... will be part of your blues guitar playing/creating 'arsenal forever. Enjoy the process of discovering the many way to express yourself with the blues scale.
I like the way you go through and really reinforce the key ideas. Another cool lesson, but I need to go right back to the beginning and learn this stuff... a little daunting seeing as you have 70 odd lessons, will be an interesting journey. Like with so many of the instructors like Mark Lincoln, Steve Eulberg, Jimmy D, I look forward to chatting with you Hawkeye. Thanks.
slaterstu, There are free lessons on my web site here hawkeyeherman.com/guitar-lessons.htm and you can see how I use the techniques I teach at jamplay.com when I'm performing here youtube.com/profile?user=HawkeyeH&view=videos Take your time with these lessons. There's no rush, crawl before you walk, and walk before you run. Move on/forward with each lesson at your own speed, be patient with yourself, and do the simple repetitions necessary at a slow speed and enjoy the sounds your guitar is making. Learn these 'building blocks'/lessons in the order in which I've presented them and you'll have great success in playing blues freely on the guitar, fun along the way, and a sense of understanding for blues musical ideas that will open 'doors' on the guitar for you forever. Now, please get back to lesson #1, and start this journey with me on 'the blues highway.